Composer: Georges Bizet
Works: Carmen
Performers: Graciela Alperyn (Carmen), Giorgio Lamberti (Don Jose), Alan Titus (Escamillo), Doina Palade (Micaëla), Slovak Philharmonic Chorus, Slovak Radio Symphony Orchestra/Alexander Rahbari
Recording: NAXOS 8.558010 [65:54]
Label: NAXOS
Georges Bizet’s “Carmen” remains a cornerstone of the operatic repertoire, celebrated for its vibrant melodies and complex characters. Premiered in 1875, it broke away from the traditional romantic tropes of the time, presenting instead a story steeped in realism, passion, and tragic consequences. This recording, part of Naxos’s “Opera Explained” series, aims to serve as both an introduction to the work and a deeper exploration of its themes, characters, and musical elements, making it accessible to newcomers and insightful for seasoned listeners alike.
The performance led by conductor Alexander Rahbari with the Slovak Radio Symphony Orchestra captures the energetic pulse of Bizet’s score while the Slovak Philharmonic Chorus adds rich textural depth. Graciela Alperyn’s portrayal of Carmen is particularly noteworthy; her voice exudes both sensuality and emotional complexity, deftly navigating the character’s tumultuous spirit. Giorgio Lamberti’s Don Jose is portrayed with a compelling inner turmoil, effectively shifting from the impassioned lover to a man overwhelmed by jealousy and despair. The narrative approach taken by narrator David Timson infuses the characters with a contemporary sensibility, contending with themes of sexuality and emotional conflict that resonate in today’s cultural discourse.
Timson’s narration skillfully intersperses musical excerpts with psychological insights, offering a fresh lens through which to view the relationships and motivations within the opera. The focus on character depth, particularly in Don Jose and Micaëla, provides a richer understanding of their arcs. Micaëla, portrayed by Doina Palade, emerges not merely as a passive figure but as a determined force, her strength highlighted through her lyrical moments, particularly in her aria “Je dis que rien ne m’épouvante.” Such interpretative choices elevate the characters beyond mere archetypes, allowing for a more nuanced engagement with the opera’s narrative.
Technical aspects of the recording warrant attention, particularly the sound quality. While the musical selections are engaging, the balance between the narration and the orchestral accompaniment occasionally falters. The musical excerpts fade in gradually, lacking the vibrancy and dynamic contrast that Bizet’s orchestration demands. This issue can detract from the overall listening experience, especially for those seeking the full impact of the score. Despite this, the singers demonstrate commendable vocal prowess, and the orchestra’s accompaniment remains solid and spirited throughout.
When juxtaposed with other recordings of “Carmen,” such as the renowned performances by Karajan or Muti, this Naxos interpretation may feel somewhat abbreviated in its musical offerings. However, the inclusion of a detailed narrative and thematic exploration makes it a valuable resource for both educators and novices alike. The recording’s educational intent, while sacrificing some musical completeness, succeeds in demystifying the opera’s complexities and enhancing appreciation for Bizet’s masterwork.
The Naxos recording of “Carmen” stands as a commendable introduction to one of opera’s most beloved works. It effectively balances educational content with performance, making it suitable for those unfamiliar with the genre while providing intriguing insights for experienced listeners. Although the sound engineering leaves something to be desired, the insights offered through the narration and the strong performances from the cast create a captivating entry point into the world of opera.
